The music spans ten tracks over fifty minutes, mostly original compositions from the trio. It’s emotionally stimulating music where dramatic moments arise from the structure of the compositions brought to life through the many vibrating strings. In particular, the bowed notes of Maiko’s violin and Yasukagawa’s double bass are viscerally stirring and penetrating, and beautifully supported by the strings of the piano delicately percussed by felt hammers.

There are eight original songs, four from Nishiyama and two each from Yasukagawa and Maiko. These are mostly slow to medium pieces, audio paintings of romantically peaceful or melancholic scenes. Their music is adorned with various touches of classical and pop on a backdrop of jazz structures, like sturdy branches spreading out from a solidly rooted tree. Mostly patient explorations and ballads, there are also several upbeat moments with bright colors for contrast. In addition to the original music, two covers of traditional folk-hymn songs, “Shenandoah” and “What A Friend We Have in Jesus”, add soulful depth and are graceful additions to the program.

Audio and Video

• “A Day Before The Last Day Of Summer” (track #1):

• Full album (YouTube playlist)

• Excerpt from track #8: “飛び立つ水鳥 (Waterfowl Taking Flight)”

The trio’s music and production are in good hands, being led by the veteran bassist and lecturer who consistently appears in live performances and recordings. Yasukagawa has also been running his own music label, D-musica, for many years, uniquely spotlighting select musicians from the Japanese jazz music scene, including some of his albums as well.

Balancing the years scale, the New Trio is filled out by two young up-and-coming musicians. At the time of the recording, pianist Sora Ichikawa and drummer Yota Tsukada were only 23 and 22 years old, respectively. Despite their relative youth and freshness, their skills and sound portray a deep appreciation and study of jazz music.

The album contains eleven tracks, ten original compositions and one rearranged cover. Six of the originals are by Yasukagawa, and two each come from Ichikawa and Tsukada. The one cover song (also arranged by Yasukagawa) is the poignant anti-oppression anthem “Dona Dona” by Sholom Secunda, the composer of “Bei Mir Bist Du Schön”.

The music gets straight to the point in delivering new jazz from a new trio. That is, the songs don’t stray too far from the conventional modern jazz piano trio sound and format. They swing as they are interesting and fun, groovy, or delicate as the individual tracks require.

Yet, the music is spiced with enough new changes and the appropriate moods (whether solid walking, gentle lightness, straight-ahead jazz with twists, somber reflections, or modern mellow grooves) to highlight the imagination and ambition of the young players fused with the experience and leadership of Yasukagawa.

The bassist’s six contributions comfortably span these and other territories, and the younger two players also confidently contribute their own songs infused with their original personalities. The risk-taking spirit of youth is never extravagantly out of place here, though, and fits finely into the solid bedrock of jazz that Yasukagawa provides as the musical leader and mentor, no doubt, for his new trio.

Obi Notes

Bassist Daiki Yasukagawa formed his new piano trio Daiki Yasukagawa New Trio in 2022 with 23-year-old pianist Sora Ichikawa and 22-year-old drummer Yota Tsukada. A combination of originality and the backbone of orthodox jazz, the story is told through 11 songs interwoven with creative compositions from the young and energetic musicians and the increasingly passionate and sensitive playing of Yasukagawa—a memorable debut album.

Audio and Video

• Excerpt from a live performance of #9 “The Three Roses”:

• Live performance of the Daiki Yasukagawa New Trio performing “Risin”:

• D-musica page with album information and audio samples

• Excerpt from track #1: “Wunderbarland”

This particular album of hers was released under the Sayaka Kishi Trio name and is a follow-up to the same trio’s previous recording Life Is Too Great (2019). Also as such, the trio music on this album tends towards primarily jazz influences. Meanwhile, her other recent releases with various groups (piano/cello, piano/vocals, congos/vibraphone/piano, sax/organ/drums, etc) span colorful moods with different instrumentalists playing across genres.

Invoking the simple pleasures of chewing bubble gum with a playful, mild rebelliousness, the ten tracks start excitedly with the peppy opener “I Miss the Blue Sky”, pop-funk of “Bubble Gum”, and the calm and memorable “Noite Azul” moving in five-four time. The nine Kishi compositions (and one cover song) subtly reflect Kishi’s humorous personality while being mindfully crafted with nuanced changes, rhythmic surprises, and unexpected elements tucked away in corners throughout the album.

The opening track’s first section, for example, launches from a bouncing and carefree theme and immediately moves to a two-minute swinging conversation between bass and drums as the harmonic underpinning moves through several musical keys. Variety, twists, and sharp ideas continue to play out inconspicuously throughout Kishi’s music, like her unique spice or secret ingredient.

The next four songs “Wondering Bird”, “It’s My Jameson”, “Sora wo Kakeru”, and “Three Sails” continue to explore fun terrain with jazz moods infused with folky country, groovy shuffle, Bacharachesque emotive pop, and jazz/Latin bop in a Horace Silver hue. The music feels bright and brisk and is especially enhanced by the captivating dynamics, strength, and skills of Yasukagawa’s bass and Yamada’s drums.

Guest vocalist Hiroe Kobayashi (her partner in the group Sul Madrugada and their 2022 release Luar) adds evocative vocals and lyrics to the next song, #8 “Asas Brancas” for a cheery foreign trip, continuing into Chucho Valdez’s “Mambo Influenciado” for some rousing peaks. Finally, the album closes with Kishi’s “Hope of 2022” for a smooth and laidback finale, sweet as dessert.

Audio and Video

• Sayaka Kishi Trio playing her composition “Kin no Bitou” in 2019:

• D-musica page for this album with audio samples

• Excerpt from track #1: “I Miss the Blue Sky”

While some decorative intros, endings, and arrangements are subtly attached, the performances follow the original music closely to respectfully elevate the original compositions and allow the immediately felt vocals to shine.

The four-piece group of vocals, piano, guitar, and upright bass delivers quiet renditions of classic tunes to uplift the mood, such as “The Song is You”, “Pennies From Heaven”, and “Get Happy” in fairly short, three-to-five minute takes with a direct and pure sound.

Throughout, a sense of lightness and ease persists throughout the recording. While the liner notes describe a theme of visible light broadcast through the singer’s voice, there is also a sense of lightness as in buoyancy, a floating, lighter-than-air vocal quality from MIWO that successfully creates a pleasant musical atmosphere from the timeless melodies. Indeed, there seems to be an appreciation of the old-fashioned qualities of this rose-petal music, short, sweet, and soothingly presented.

Liner Notes

(Translation of Tomoyuki Hoshino’s original Japanese liner notes.)

Experience the light.

Sometimes it is the flickering light of a candle set on a table at a bar where lovers meet. Sometimes it is the hazy heat of sunlight rising on a beach on a comfortably lazy afternoon. Sometimes it is the light of a movie projector telling a thrilling tale on a screen at a movie theater from long ago…

MIWO’s singing voice brings to mind these various scenes of light. It’s a voice that evokes light, a rare singing voice that carries a unique radiance. As for the source of this light source, it seems to be her approach to words.

The twelve songs contained on this album make such a vivid impression firstly by the clarity of the lyrics she sends forth. Although the lyrics are sung quite casually almost as whispers, each word clearly vibrates the air and resonates in the hearts of the listeners. Moreover, each word flows smoothly and does not disrupt the flow of the original melody. Or rather, each quietly enhances the emotional swells. Considering light itself, it has the contradictory properties of being composed of photon particles and waves with wavelengths. Truly, MIWO’s singing voice is similar in the expression of clarity of speech and fluency of singing are expressed together in a single song with exquisite balance, no doubt a difficult achievement.

This must be an indication of the fact that the singer MIWO, above all else, is dedicated to delivering lyrics to the listener with care and sincerity. This is because there is no simple prescription for achieving that delicate balance. She reads the lyrics many times over, superimposing her own feelings, and singing them over and over again, aiming to convey those feelings with every note. Light can only be produced from this task without shortcuts or loopholes.

And the light that emanates from this earnest trial and error illuminates different angles on these classic oft-sung songs, bringing out new expressions. Listening to MIWO’s debut album reveals the world of the album assembled from four elements like a mosaic: from uptempo jazz numbers to medium slow ballads, bossa novas, and film music, with all of the four hues fresh and lively. The album opens with “You Turned The Tables On Me”, impressively announced with a lightly ticking rhythm from MIWO’s vocals, about someone who, just like an Othello board where the players’ positions have suddenly been reversed, thought they had the initiative in the game of love but suddenly realize it’s themself who has fallen for the other person. It’s a jazzy song full of wit that has been sung by Billie Holiday, Ella Fitzgerald, and Louis Armstrong. Contrastingly, the song “Put Your Dreams Away” gently and quietly closes the album, a ballad number which could be said to be an early theme song for Frank Sinatra (used in fact as the theme music for his radio programs and television shows). MIWO’s whispering of “Throw away your dreams, I’ll fill the gaps” echoes beautifully and leaves a long-lasting impact.

From the world of movie musicals, “The Sound of Music” and “Get Happy” were selected. “Get Happy” was sung by Judy Garland (who is receiving reevaluation and praise as a result of the 2019 biopic Judy) in the movie Summer Stock where she sang and danced alongside Gene Kelly. At the same time, the bossa nova masterpiece “How Insensitive” and the naturally included “Desifinado” were composed by Antônio Carlos Jobim and sung by Astrud Gilberto, widely known for capturing the world’s attention with “The Girl from Ipanema”. From these musical and bossa nova numbers, MIWO uncovers their musical essence and abundant richness, weaving them seamlessly into one world with jazz standards. As a result, this album has even rehued the memories of these brilliant singers who have left their marks forever in musical history by bringing to life MIWO’s voice in the here and now. What distinguishes MIWO from the singers who inspired her to pursue jazz, from Judy Garland and Astrud Gilberto to Billie Holiday, Ella Fitzgerald, Carmen McRae, and of course Sinatra and Satchmo, is the brightness of the light she emits through words to illuminate this unique theatrical world.

Actually, if you think about it, perhaps it is just those who can bring a new light into songs who possess the qualifications to sing standard numbers. It is in this way that songs are imbued with new life and continue to be sung further into the future.

MIWO’s voice certainly possesses that beautiful qualification. This album’s title is Tranquillo, which is a musical term of Italian origin that means in a quiet and calm manner. If you close your eyes, lay down in a quiet and calm place, and let her voice reflect its light on the surface of the mirror of your mind, you too will surely be convinced of this. In the midst of this unique twinkling light, various scenes will shimmer and emerge.

Tomoyuki Hoshino (Aoi Hoshi Tsushinsha, former editor-in-chief of Tokyo Calendar)

Audio and Video

• Promotional video for this album:

• Excerpt from track #4: “Desafinado”

Although the album was released under the TCQ (Twin City Quartet) name, drummer Takeshi Sakamoto bridges the twin cities as leader and founder of this group. Originally from Japan, he studied in New York before moving to Taipei, Taiwan, where he continued to play jazz locally as well as on tours through Asia. It was in Taipei where he worked with the acclaimed jazz saxophonist Shawna Yang (a Berklee College of Music graduate), gaining insights into the parallels of the jazz scenes in each city. Sakamoto was inspired to record this record to promote the jazz cities’ alliance together with Yang and the Tokyo musicians, strengthening the bonds between Taiwan and Japan with this debut recording.

Sakamoto also provides a special essay in the liner notes with background information, where he notes the “/T/” of both “TCQ” and “Memories of T” being used to represent the /T/win cities of /T/okyo and /T/aipei.

Audio and Video

• Promotional video of “Tokyo Image” for this album:

• Promotional video of “Memories of T” for this album:

• Excerpt from track #2: “G Island”

The nine-track listing includes seven originals by Tanaka, along with the Gershwin standard “But Not For Me” and a concluding piano-bass classical song. Most tracks feature piano trio with the young pianist firmly in command, releasing quick whirls of bluesy notes and graceful glides connected with flourishes of a technique rooted in classical training yet now dedicated to the jazz language with pomp and flair. On two tracks, the trio becomes a quartet with veteran jazz trumpeter Yoshiro Okazaki adding additional color and exceptional solos.

From the first track “Sailing” a bracing, uplifting mood is established, expanding into dreamy elegance on “Sign of Spring” and the groovy bossa bluesiness of “Cato-cha”. Other tracks range from the lovely ballad “Soramoyou”, good-natured midtempo swing on “But Not For Me” and “For…”. Slightly darker tracks like “NY No Omoide” and “Wall Street Blues” round out the presentation with moody and vibrant flashes of energy, while the final telling of a Chopin’s “Nocturne op.48-1” show pianist Tanaka and bassist Daikiu Yasukagawa in an expressive mood, calmly winding down the trip through Memories with a graceful maturity.

Audio and Video

• Naoko Tanaka Trio performing live in 2018:

• Excerpt from track #1: “Sailing”

The pianists and drummers are all players who perform with the bassist on different albums and at live shows in Japan, and each member adds personal touches and dynamics to the combos. The majority of songs are originals from the bassist, with the balance being in favor of slower tempo ballads and relaxed moods built upon the bassist’s deep, weighty sound and timing. A few uptempo numbers are included, starting with the album opener West Side Story’s “Tonight” which kicks things off with a great swing beat, Yasukawaga’s own joyful “My Bebop Tune”, and an exuberantly wild “Circle III”.

In addition to providing a glimpse into the modern working trio in Tokyo’s current jazz scene, Trios II is also a great standalone package of jazz piano trios performing Yasukagawa’s music for a comfortable, mood-enhancing collection.

Audio and Video

• Daiki Yasukagawa Trio video for Trios II:

• Excerpt from track #1: “Tonight”

Hori leads a bright, swinging trio on this jazz record, full of high-energy peaks and steady grooves. Extremely nimble in his playing, Hori’s clearly executed phrases fill his improvisation with exciting patterns and curlicues, urged on by the propulsive anchor of rhythm section members Daiki Yasukagawa on bass and Gene Jackson on drums.

While this is Hori’s third album as leader, In My Words is his first exclusively piano trio album, a great opportunity to honor one of his idols, the pianist Kenny Kirkland. Similar to the album title, the last tune “Another ‘Words’” references an earlier song of Hori’s called “The Words of Mr. Kenny K.”, a tribute to Kenny Kirkland, who is obviously a huge influence in his personal style and a jazz giant whom he appreciates greatly. The listener may recognize the impact in Hori’s amazing playing as well. Highly talented yet not overly flashy, Hori, ever gracious, also leaves plenty of room for his sidemen to shine, with rousing bass solos and drum features, such as the heavy groove riff and drum improvisation on “Form”.

Hori’s songwriting is also on display, with six originals (the crowd favorite “Winter Waltz” being a highlight) and three rearranged covers: “This Is New”, “Take The A Train”, and “So Near, So Far”.

Audio and Video

• Audio for track #7, “Winter Waltz”:

• Excerpt from track #1: “This is New”

The album includes nine modern jazz tunes, most being original compositions from Yasukagawa, and one each from pianist Sato and drummer Hashimoto. Two standards are also included, a swingy, stylish “Long Ago And Far Away”, and a bowed-bass feature on “Greensleeves”, a delicate, sacred performance heavy with emotional weight.

Opening with atmospheric space, unhurried and patient, the modern sound develops with a fun looseness based on confidence and skill; the music soars and swings with thrilling percussive, melodic, and bass interplay. These players bring a lot to the performance, listening and responding to each other throughout, reacting and embellishing each other’s ideas and open spaces with exquisite taste.

Audio and Video

• Daiki Yasukagawa Trio video for Kanmai:

• Excerpt from track #2: “Long Ago and Far Away”

The 10 original songs on this album unfold in the emotion-heavy Brad Mehldau vein of modern piano trio jazz. Patient, somber ballads lie alongside straight-ahead compositions thick with melodic effusions, traces of classical influence, and bluesy suggestions as well.

This album also includes free moments which leave the musical structure open compositionally, allowing the trio to slowly create mysterious, sensitive soundscapes, searching and reaching for expression. At times somber and wistful (with the recent death of the pianist’s father being cited as an influence on the music), there is also grace and forward-momentum on this trio’s journey through this comforting, introspective music.

Audio and Video

• Promotional video for this album with album excerpts played live:

• Excerpt from track #2: “Dream Garden”